#Carolena Nericcio

[emmatrinidad]

Una danza ancestral y matriarcal.

En conexión con el movimiento artístico feminista y los estudios sobre las diosas prehistórica o prepatriarcales en el contexto californiano a comienzos de los años de 1970, la Bal Anat fundada por Jamila Salimpour, bailarina de danza oriental, interpreta una danza dedicada a la Diosa Madre. La bailarina lleva una máscara y viste conchas cosidas en su traje. Acompañada de un coro de bailarinas…

[aryfortheworld]

A brief story of the Tribal Dance.

About sixty years ago, a unique dance emerged in the United States in which various dance styles from the oriental cultures converged.  

With roots in the gypsy tribes of North Africa, Jamilah Salimpur, Masha Archer and Carolena Nericcio created a new style of dance that, later, would became the A.T.S (American Tribal Style).  

I was dancing A.T.S for almost four years in Venezuela and I could founded a special connection with my partners, my body, soul and mind. This dance is art, obviously, but also is a femele ritual with another woman's and with yourself.

The American Tribal Style contains a format of specific steps that vary according to the rhythm of the music.

The slow steps are more sinuous, while the fast ones, accompanied by chinchines that the dancers play with their hands, are characterized by the rapid movements of the hips, turns and combinations.

It's a group dance, with trios or duos in the center and a chorus in the back in a crescent formation. 

When the dancers in the center perform a combination of steps, those in the choir do different ones and take turns constantly throughout the song. 

On this photo, we could see another type to A.T.S: the fusion. This dancer are wearing another style to attire because they were dancing a cabaret style, that is an interesting and amazing Tribal Fusion.

The A.T.S wardrobe is very colorful and overloaded and the makeup alludes to ancient Egyptian faces. It's an art who has an exceptional mixed because is the unique dance in whole world that contains influence of the Bellydance, Flamenco and Indian dances.

[adaradin]

#socialshimmy #week4day2 I'd like to talk about my #bellydance lineage. I wouldn't necessarily say I have a "dance mom" - I have had many #teachers that have #inspired me. So, in chronological order... - Barb was my very first dance teacher, and a woman I am so happy to call friend. She taught me not only the basics, but also how to zill. And, lemme tell ya, I love to zill. Barb is absolutely brilliant. - I started dance classes with Mirah Ammal after I felt comfortable with beginner classes. She's an incredibly talented, brilliant, and caring person, and I'm so glad that she tolerates me being a complete derp in rehearsals. - When #americantribalstylebellydance (now #FCBDSTYLE) hit the Twin Cities, I jumped at the chance to take classes with Tasha-Rose. Under her troupe, #KamalaChaandDanceCompany, I devoured the curriculum and eventually earned my General Skills and Teacher certifications from #fatchancebellydance. Tasha-Rose is no longer dancing, and the troupe, now rebranded under the name #KCDCStudio , is mine. She was absolutely dedicated to showcasing the style in the best possible way while managing her household like a rockstar. - Carolena Nericcio is the creator of the FCBD style. This modern American #fusion dance is a mixture of many dances and styles. Taking my General Skills and Teacher Training courses with her (and Megha Gavin) was a dream come true! - last, but not least, is Klee. Klee is a font of knowledge and an absolute dork like me. We manage to find fun, themed out dance opportunities so we can get really creative... and sometimes inappropriate. 🤣 If you ever need a history resource, she's the one to speak with. She is always learning and growing. These aren't all the teachers I've had, but they have made the biggest impact on me - and continue to do so. #bellydancejoy #dance #music #teacher #friendship https://www.instagram.com/p/CFcSCqwlCb8/?igshid=17qdls2mnmg49

[musicaenmerica]

TEMÁTICAS DE LAS CANCIONES

Jumpstyle. Este baile es originario Bélgica, para la música se emplean cortes electrónicos. ...

Moonwalk. Este baile se hizo ampliamente conocido con el cantante Michael Jackson que consiste en deslizarse por el piso ...

Jazz funk. El jazz funk es una variable del jazz, emplea movimientos cortados y sonidos electrónicos. ...

Shuffle el término Shuffle se ha usado para designar un paso de baile y, más tarde, un ritmo musical, vinculado al blues y el jazz. 

Tribal. La danza del vientre de estilo tribal estadounidense es un estilo moderno de danza del vientre que actualmente se conoce como estilo FCBD, creado por la directora de FatChanceBellyDance, Carolena Nericcio-Bohlman. La principal característica definitoria del American Tribal Style Belly Dance es la improvisación grupal.

Electro dance.

Electro dance es un frenético y peculiar estilo de baile urbano que generalmente se baila o se realiza con música electro house. Está basado en una mezcla de diferentes estilos de baile, como el EBM, la música disco, vogue, waacking, hip hop, glowsticking y flexing dancing.

Funky. El funk carioca, funk brasileño, baile funk, funk de favela o axé en Chile, es un estilo musical nacido en Río de Janeiro. Este ritmo tiene una gran influencia del hip hop, utilizando el estilo del "Miami Bass" y la música electrónica para las instrumentales combinados.

Hip hop. El baile de hip-hop se refiere a estilos de baile urbano interpretados principalmente con música hip hop o que han evolucionado como parte de su cultura. Incluye una amplia gama de estilos principalmente de breaking que se creó en la década de 1970 y se hizo popular entre los equipos de baile en los Estados Unidos.

[yingqilin]

Where Do I Even Begin?

Well, first of all, I’ve LOVED LOVED LOVED Qilin ALMOST as much as I loved Unicorns, and Dragon. I say ALMOST because I first saw a unicorn on TV when I was 4 years old in the EARLY 1980s! But, I’d never even heard of a so-called “Chinese Unicorn” since about the mid-late 1980s when I saw a children’s magazine called “Cricket” which had a WHOLE SPREAD about UNICORNS, including the Chinese & Japanese versions.

(I don’t believe this was the actual cover. I can’t remember what year the Cricket Magazine issue was, just that it was in the 1980s. This issue was cited in many books written about Unicorns as well, following its syndication. It had a full on spread including many kinds of unicorns from many cultures... if I recall correctly, there might even have been an French Unicorn story as well.)

When I was a little kid, I actually didn’t like to read (which was an issue by the late 1900s, and even the government would talk about it, the trouble was they’d demonized comic books in the 1960s-1970s, which resulted in that problem, because even tho’ “correlation doesn’t equal causation” they didn’t know that and thought that the act of reading comics made you into a criminal. My experience was the exact opposite, because I read super hero comics a lot and was more interested in THAT than things like doing hard drugs, vandalism, and shoplifting which was rampant in NJ where I grew up.) So, by the late 1980s-early 1990s children were encouraged to read, read, read. Well, I liked pictures, and I LOVED: unicorns, dragons, and dinosaurs, ANYTHING FANTASY, but also Sci-Fi. (I also loved Marvel Comics/X-MEN, and Disney Adventures Magazine, and nearly all the Jeffrey Katzenberg hit Disney Films)

So, whenever it was something of interest to me, I would read a lot, and I had stacks of books, which I also used to practice learning art, and I was self taught. (I have A.D.D.)

I graduated in May 2001 from the Art Institute of Philadelphia (Majored in Computer Animation AKA CAM). And, by the GW Bush Era, I had already been active online since 1994, and had been blogging, and using many various art websites.

By late 2001, and most of the early 2000s (2001-2007) I spent months and even years sketching and drawing Qilin, interacting in the Furry/Anthro Fandom, and published a lot of my works to GeoCites/Yahoo, and had even created my own message boards, and so on. I even had one called “Qilin Savanna” Altho’ much of these sites are gone, my original works still remain on DeviantArt in my gallery HERE. (I also LIVED IN CHINA many times in the GWB Era often.)

Since that time I’d also written a lot of things, multiple times over, about my research into Qilin (which are not all unicorns, just some).

If you were to type in “qilin cartoon” into Google you can actually see the many many photo images that come up since the time I’d first started publishing my work ONLINE, FOR FREE, you can actually see how my works have influenced people. Back then, there was a MAJOR mix-up with the term, because MOST information available in ENGLISH regarding CHINESE EVERYTHING was often inaccurate, used the dead Wade-Giles Chinese language, or were often confused with JAPANESE. Another issue was that I actually could speak standard Mandarin Chinese, but many people wrote the Cantonese names, or FREQUENTLY confused them with Japanese name for the exact same character (AKA kanji, AKA Hanzi), which is “kirin” in Japanese. Also, the majority of NON-Chinese speaking persons don’t know how to pronounce Mandarin pinyin. (Example: Can you pronounce?: chi, qi, shi, xi, zhi, zi, qu, chu, er, ri, ren, si, ran, yu, you, bo, po, zhou, zhu, cao, zui - Most Non-Chinese speakers CANNOT pronounce these correctly at all. “Chi” sounds like “Tcher” and “Qi” sounds like “Tchee”, “Shi” sounds like “scher” and “xi” sounds like “schee”. There are also variations on pronunciation.)

But, I still stuck to the facts. my father-in-law in China,The late Wang Zimin, actually had special access to a restricted library, and wrote letters to me about Qilin, and the 4 major Chinese magical deities: Qilin, Long/Dragon, Fenghuang/Phoenix, Bixi/Dragon-Heard Tortoise.

Back then, mostly you needed to search “kirin” especially because M. Peña called her artwork “Kirin” but still also called them “Chinese Unicorns”. Her gorgeous sculpture works were sold everywhere for years, nation wide, from the boardwalk to Spencer Gifts, to Flea Markets, and Christmas season mall kiosks.

But, as you scroll through all the works produced since that time, not only the ones titled or tagged as "kirin” but over time “Qilin” starts to replace this as more and more people growing up actually start to study Chinese, especially artists and customers, and many of these young artists are either my fans or students, but fans or students of my students... after a while, people forgot who I was... but my work BECAME PART OF THE CULTURE.

You can SEE that many people emulated my poses, my styles of doing hair, and many other details. Over the years, a number of my fans, and friends would send me private messages FREAKING OUT that either someone stole my work, stile my style, or ripped me off...

That’s actually NOT TRUE. No one ripped me off. THOSE ARE MY STUDENTS.

You guys ASKED ME things like: How do you draw _____? so I made countless cheat-sheet style tutorials (because paid classes don’t ACTUALLY TEACH). Also, if someone wants to learn, (like myself) they try to draw from WHAT THEY LOVE. That means ME. MY ARTWORK. How else will they learn if they don’t copy, ask questions, etc.?

I have many many open source materials in my DeviantART gallery (which are STILL MY MOST POPULAR WORKS OF ALL TIME despite the hours of work I’ve produced artistically.) I have also licensed much of my line art works FOR FREE for people to practice coloring with wither digitally, or to print them out and color with real media like markers, color pencils, pastels, or whatever because people kept asking me.

Actually, I would like to credit a number of artists whom are my biggest influences as well:

Susan Dawe

Glen Keane

Alan Davis

Those are my biggest ones, but I also loved artworks by Burne Hogarth,  Auguste Rodin,  Edward Degas (I especially love his ROUGH sketch work), Frank Frazzetta, Boris Vallejo & Julie Belle, Fred Moore, Vladimir “Bill” Tytla,   AND the film The Last Unicorn was especially the #1 thing that got me actually DRAWING when I was 4 years old.

SO much of my work, especially ANYTHING with unicorns, has been tattooed onto people bodies. Many people personally asked my permission, but I honestly DO NOT MIND. I have found over the years more examples of my artwork tattooed onto people than I can count. It’s LOVE.

However, I’ve also many many times been the victim of theft FOR REAL. Many people have tried to rob my sketchbooks, and many companies have illegally robbed my artwork online. It was the cause of MUCH online fights, wars, and battles. There’s also impersonators: People pretending to be ME, or claiming THEY did my work: also the cause of much much online fights and flame wars.

-Then, of course, there’s LOTS & LOTS of kids online that “rob” my work for RPGs, and fan pages... Honestly, I’m NOT going after children, or fans, for harmless things like that... I’m NOT Metallica.

So, where am I going with THIS?

Well, for one, there’s both ART and PHILOSOPHY which are BOTH a MAJOR part of my life.

I had a number of setbacks, delays, and many other strings of very unfortunate events in my life. Needless to say, I was very depressed. However, I did find myself back in college, first for Philosophy, and then for Art, especially Video... which somehow saw me thrust forward into Animation HEAD-FIRST. Suffice it to say, I’ve worked through, blew threw, and past, all of my blocks, and have been doing animation again. (lots more long stories, but not writing them here)

Many many times, you can’t always reach, yet, what you want. Other times, other persons, or groups want to change you, or make you something else.... and not you. But, it kills you inside...

At some point, you need STOP listening to everyone, and everything else, ESPECIALLY if that’s not FLOWING in the direction are are INSIDE.

I’d already WANTED to produce at least 2 series/films of my own. (”Eyewitness” and “Zenith Beyond The Dragon’s Rue”) Well, THIS is a branch off that tree. This stems from my concepts for “Eyewitness” but sort-of... I had ALWAYS wanted to produce my own small animated shorts, especially with music, like the old 20th Century animated works such as “Silly Symphonies”, “Merry Melodies”, and even Disney's “Fantasia”, but also a number of influences from Far East Asia including PR China, and Japan.

I’ve been multiple times inspired by Socrates, Plato, Laozi, Bruce Lee (Li Xiaolong), and many fusion artists/dancers on the American West Coat including my teachers: Zoe Jakes, and Alyssum Pole, as well as Rachel Brice, Carolena Nericcio, Jamlila & Suhaila Salimpour, but also Matahari, and Kerli Kõiv. People that think differently, question things, or create their own ideas, or even fusion artists.

Well, this project has been on my mind since at least 2001.

In fact, my actual name (Ming Zi) in Chinese is: 任思麒 (Ren SiQi)

It literally means: Duty/Task [to] Think/Contemplate/Dream of Qi[lin]!

Also, as an artist, there are a number of things I believe in, whereas other things I’ve shed like a snake molting its skin. I’m a fusion artist, an eclectic artist, but I still firmly believe in art fundamentals like life drawing, practicing one’s skills, and I use bot digital and real media. I LOVE TO DRAW. I firmly believe in Quality OVER Quantity, yet, in some instances I also think too much detail is overdo, and somethings look better less refined. I like realism, stylization, cartoons, and beautiful things.

I want to create content that is LESS about “being a big success” or ego driven ideas of “stardom”, and lavish money making, but more about THE LOVE OF IT.

I do NOT want to be part of any establishment groups, crowds, clubs, or institutions, and DON’T want to be mainstream, NOR corporate. I have found all of those things to be negative and destructive to my life and therefore regret pursuing those avenues. I’m NOT interested in walking those paths, nor dunking helplessly into those turbulent or stagnant flows, but RATHER Flow my own way, because I have my OWN PATHS. I don’t need to buy their metaphorical light bulbs, because I have my own light that I can shine inside of me.

And, if I am being completely frank & honest, another MAJOR influence on me WAY BEFORE HE WAS EVEN POPULAR was Bernie Sanders. I am a Berner. Sanders actually GAVE OF HIS HEART & HIS TIME FOR FREE. He crowd funded for what he believed in with SMALL MONEY because he was against BIG MONEY.

I have no care for being in exclusive film festivals or galleries. People whom already LOVE my work find their way to it. People HAVE found value in my efforts and work.

Therefore, I wish to begin producing this animated short. It is not cheap tho’. But, I will gladly share my process, my concept work, my practice work, and everything FOR FREE. Free to ALL ARTISTS, and people whom just live beautiful things, art, and QILIN.

I wish to pursue an independent direction in my art. But, I would very much like to include people, if not the world or those in it that care about these things, to interact with me. A long time ago I’d created my “Qilin Savanna” site to interact with people whom also loved Qilin, Unicorns, Dragons, and other things, but also a love for art, or learning art.

This year (2017) while interacting with MANY MANY young people, and young artists, I often found that people WANTED to learn to DRAW, to improve their techniques and practice them, but despite having paid money to attend art classed (including “drawing classes”) they did not actually get what they paid for, did not actually get instruction for what they wanted to learn, but either had to fend for themselves, try independently, or got resources online for free... so, why then were they paying for it?

I have many many times, spent just a short moment with frustrated peers, students, classmates, friends, and fellow artists whom couldn’t draw what they wanted to, and teased me for being some kind of special person... when in fact, whatever I do, others can too. I sat with them, explained, and demonstrated (AKA Using The Feynman Technique) and after that moment of AHA THEY COULD DO IT. And, they didn’t need to come back. 

I did THAT FOR FREE.

I did THAT FOR LOVE.

And, NO, I DON’T HAVE A MASTER’S DEGREE. Honestly, at this point, I don’t feel I actually want one. I DON’T want to be a part of that club, nor establishment either. In this way, I’m somewhat like Socrates, Diogenes, or Bruce Lee... only NOT. I’m ME. 

I have a lot more to say, but I think I will leave it here for now.

[tuckitinyourtasselbelt]

Got Skirt?...then girl you better work it!

Work that Skirt – ATS® Style:  

An ATS® movement dialect for skirt created by Krisztina Clark with extensive consultation and creative input from Carolena.  

My background:

I have been dancing for most of my life and teaching ATS®, World Fusion, Turkish and Roma styles of Belly Dance for over 15 years. ATS® was the first style of dance I taught, but with no tribe to perform with as I was the only one in the area doing ATS® at the time, I performed mostly solo Fusion and Turkish Roma styles with theatrical skirt dancing taking a front seat in many of my performances.  As a result I quickly became known for my skirt technique and had many requests for classes so I started teaching a class focused on skirt technique. 

Developing the dialect:

Even though I have developed a movement dialect for ATS®, I am very much a purist at heart.  With that in mind, it was very important to me that this dialect kept true to all the ATS® standards; keeping the ATS® posture, keeping the steps as close to the originals as possible, only adding skirt to steps when the skirt would enhance the step, and never adding it to steps where it would add nothing, or worse, detract from the original step.

What makes it unique:

I have been asked what makes the Work that Skirt ATS® Style dialect different from other skirt dialects.  I have not studied any others and actually made it a point to not even watch video of any other skirt performances during the time I was adapting my skirt steps into the ATS® dialect so that I would not be influenced by anything anyone else was doing.  Since solidifying and filming the instructional DVD for the Work that Skirt ATS® Style dialect several years ago, I have seen a few live performances and noticed that there are a few unique differences, especially in the way the Arabics and Egyptians are performed in the Work that Skirt ATS® Style dialect.  

The other thing that I think makes it unique is that I worked closely with Carolena in developing this dialect.  Throughout the course of working with her, some of the steps were changed from the way I had originally done them with a more Romany flare to more closely fit within the ATS® framework, making her input in developing this dialect invaluable.  There is nothing quite like having someone to not only bounce ideas off of, but who is in the unique position to know the ins and outs of the entire vocabulary.

Work that Skirt ATS® Style on a global scale:

Skirt-work adds such a fun and sassy element that you can't help but get lost in the dance and just live in the moment in total dance bliss. I love to see all of the dancers who have studied the Work that Skirt ATS® Style dialect, either by DVD or in workshops with me, performing it with their troupes.  It is amazing to see something that you dreamed up come to life in others and to see the incredible joy they feel as they are doing it.

The future of the dialect:

The Work that Skirt ATS® Style instructional DVD was released about two years ago now, but the dialect has continued to grow.  I am working on filming Work that Skirt ATS® Style Duets and Work that Skirt ATS® Style Slow Vocabulary.

My mentors <3

I am so very thankful to be blessed with such amazing teachers whom I have had the pleasure to work closely with over the years. They added so much to both the development of this dialect and my background in ATS® and theatrical skirt-work, Carolena Nericcio-Bohlman and Artemis Mourat.  I wouldn't be the dancer I am today without them and this dialect would have never been created.

Check back in the next few weeks for a video preview of the slow dialect, a new fast step that isn't on the DVD, and a detailed look at the arms in the Egyptian.  And as always feel free to contact me with any questions you have and keep sending video of your troupe performing with your skirts.  :)

[gailstorm]

I just read that the legendary Jamila Salimpour has passed away. She was a pioneer of the bellydance movement in America, creating a radical new format and demanding rigorous attention to detail, legitimizing the dance to a new audience. Every western tribal and fusion dancer (including myself) owes her a debt of gratitude. Her student Masha Archer furthered Jamila's concepts to create her own style of dance, which inspired her student Carolena Nericcio to create ATS (which is the style I did for eleven years).

Everything leads back to Jamila...and she has touched so many lives. She helped thousands of women (and men) take ownership of their bodies and their space through the art form, and her influence can literally be seen in dancers worldwide. Rest in peace, Jamila, and thank you.

[lilyserpent]

Carolena Nericcio*

[maritsadance]

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A post shared by Maritsa Dance (@maritsa_bellydancer)

Сегодня поговорим о трайбле) Этот стиль танца часто путают с bellydance. Трайбл, American Tribal Style — это система танцевальной импровизации в группе, созданная Каролиной Нериккио (Carolena Nericcio) и её коллективом FatChanceBellyDance. Если разложить трайбл на составляющие, то можно выделить следующие ключевые компоненты, образующие единую систему:1.Набор из чётко определённых движений и связок — всего более 100; 2.Единая терминология трайбла, которая используется во всех танцевальных коллективах этого стиля; 3.Система ключей-подсказок, представляющих из себя незаметные для зрителя движения, с помощью которых танцовщицы общаются между собой во время танца, предупреждая друг друга о дальнейших движениях, чтобы не потерять синхронности; 4.Групповые построения и перестроения; 5.Музыкальная теория импровизации. Овладев этим инструментарием, танцоры трайбл могут создавать танцы прямо во время выступления, не заучивая их заранее, а общаясь друг с другом посредством танцевального языка. Таким образом, трайбл это не столько танец, как шоу, сколько групповая практика, включающая игру на внимание и реакцию, тренировку невербального общения и самораскрытие, посредством импровизации в танце. Благодаря универсальности трайбла и единой базе движений, его могут танцевать люди, которые впервые видят друг друга и даже говорят на разных языках. А я не перестаю восхищаться танцовщицами из Венесуэлы! На этом вид��о танцует Dayana Araya (Даяна Эрэя) руководитель одной из самых популярных трайбл-студий в Южной Америке @poeticatribal . Я могу еще много писать об этом стиле, но чтобы его понять, просто полистайте ленту @poeticatribal #tribal #gipsy #dayanaaraya #poeticatribal #venesuela #maritsa_info (at Venezuela)

[jooneexploits]

“There was a time in history, a long time ago, when the bounce & sway of a woman’s hips was considered so beautiful that they set it to music and made a dance out of it.”

- Carolena Nericcio

Simonetta Photography

[dance-of-the-muse]

[melikmuradova]

Carolena Nericcio & Rachel Brice

[sophieclementine123456]

[bigtimebellydance]

I've been gone for two weeks visiting family & friends back East (w/no computer access- YEEK!), and given recent computer issues, in general it's been far, faaaaar too long.  But now I'm BACK, so it's time to CELEBRATE!! Lilililililili-yiiiiIP!  XD

So why don't we start the comeback party w/some SERIOUSLY yummy ATS, courtesy of Carolena Nericcio, Megha Gavin and Philippa Moirai, dancing at Tribal Pura in Edinburgh?! :D  Time to raq it OUT, m'lovelies!  Check out this wonderfully joyful and delightfully-danced piece (plus the costumes, OMG!), and then, once you're done shimmying in your seat, why not replay it- so you can get on up and dance WITH 'em! ^_^  I'm home and in the mood to dance, so vamos!  BAILA!! XD

♥

[dancingkalliope]

[lilyserpent]

FatChance BellyDance ~